Rubén “Like One” Aguirre is a Chicago based painter who has transitioned from graffiti writer to abstract painter and contemporary muralist. This black and white mural was designed and created during the 2015 Subsurface Graffiti Expo.
Subsurface is an annual event that showcases mural and graffiti artists from all over America and beyond. Since 2002, artists have traveled to Indianapolis every Labor Day weekend to create work and build community. Subsurface seeks to advance the art form through beautifying and revitalizing the landscape of the Fountain Square neighborhood specifically. Subsurface also seeks to raise social and cultural awareness and promote the arts as an institution of empowerment for all involved.
Like One has produced a number of murals in the Chicagoland area, across the U.S., and in Brazil. Like One’s work is an intersection of abstract graffiti, design, and contemporary muralism. With traces of typographic letter structure from his graffiti roots, his work is informed by architecture and plays with re-imagining public space, while investigating pattern, texture, and color field through the use of the spray can. This carries through his studio work while further exploring materials i.e., latex, wood, paper. He has exhibited in The National Museum of Mexican Art, the Hyde Park Art Center, and the Chicago Cultural Center.

As part of the 2017 Indy Do Day, Indianapolis’ It’s My City coalition partnered with local artists and volunteers to create temporary and semi-permanent pavement murals throughout Indianapolis. Most of the murals were made of chalk and were designed to last just a few days, but as part of its neighborhood engagement efforts, Big Car Collaborative worked with artists to create murals in the Garfield Park neighborhood that would stay fresh-looking for up to a year.
Indianapolis-based artist William Denton Ray painted this mural for the Garfield Park Art Center in its large parking lot, originally the site of a swimming pool when the park was first built. The mural includes four 30′ x 10′ stylized leaves that are designed to be graphic in nature and also provide a visual direction towards the Art Center’s entrance, which can be difficult for patrons to find. The original design was a teal-green color; however, after the artist discussed the palette with the Friends of Garfield Park, the decision was made to change it to shades of red. The design was laid out by the artist and filled in by the staff of local digital marketing company Trendy Minds, with additional volunteers from Eli Lilly as part of the Lilly Global Day of Service on September 28. To finalize the design, Ray painted the white outlines to make all the reds pop.

C.T. Hankins is an Indianapolis artist who uses photography and sculpture to produce interactive artwork. A Bit of Me in You is an expansion of the installation he created for the Raymond James Stutz Art Gallery in October 2015.
The form is a wall made up of thin, rectangular mirrors. The artist has left a number of empty spaces in the wall, so that the viewer can interact with other viewers on the opposite side of the wall; seeing another person’s face where one would expect to see one’s own creates a startlingly intimate, if temporary, relationship between strangers.
This sculpture was first featured in the Indianapolis Arts Center’s summer 2016 hosting of Primary Colours’ annual Installation Nation exhibition of temporary outdoor art, and was featured in the 2017 ArtPrize public art exhibition in Grand Rapids, Michigan. Hankins had won a fierce competition among local artists for funding to bring the piece there. It is currently on view at Shortridge High School.

Don Gummer: Back Home Again is presented by the Central Indiana Community Foundation in honor of the 100th anniversary of The Indianapolis Foundation and in partnership with the Indianapolis Cultural Trail, Inc. This outdoor exhibition is located on the Indianapolis Cultural Trail and it features eight sculptures by Indianapolis-native, New York-based artist Don Gummer.
The artist, Don Gummer was born in Louisville, Kentucky in 1946. When he was seven years old Gummer and his family moved to Indianapolis, Indiana. As Gummer grew up in Indianapolis he attended Ben Davis High School where he demonstrated his artistic talent by winning local awards. Gummer attended Herron School of Art in Indianapolis before moving to Boston, Massachusetts to attend School of the Museum of Fine Arts. From Boston, he went on to Yale University in New Haven, Connecticut, where he completed both his Bachelor of Fine Art and his Masters of Fine Arts.
Gummer prefers that each individual bring their own interpretation to After Rome and his other sculptures along the Cultural Trail.
Don Gummer: Back Home Again runs from August 31, 2016 to August 7, 2017.

Mike Helbing is a Midwestern sculptor who spent his early years and made his early art in Indiana through the 1980s. He taught children’s art classes at the Indianapolis Art League (now the Art Center) before moving to the Chicago area in the late 1980s, where Helbing has since been making large metal sculptures. He’s also currently the curator for Chicago’s National Vietnam Veterans Art Museum. His website is www.mikehelbing.com.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf

Ascending, along with Serpent and Daughter of the Moon, Nokomis, are from artist Robert Pulley’s large body of work combining references to geology, organic growth, and the human figure in abstract, expressionistic sculptures inspired by nature. Their segmentation, the striation that comes from coil building, and the picked textures create a sense of age and loss that contrasts to their strength and energy.
Robert Pulley is a clay sculptor based in Columbus, Indiana. According to the artist, “I grew up in the American Midwest where frequent solitary walks in the woods and along the creeks and rivers of rural Indiana etched strong impressions into my memory of the varied forms, colors and textures around me. Evidence of the effects of time were everywhere in the rock strata, glacial till, and aboriginal artifacts. I found a sense of wonder that embraced mysteries of nature, of change and of time…In my creative process there is always a time of free improvisation using easily manipulated materials on a small scale. The materials may have qualities of a found object, chance forms that must be reacted to, much as a jazz musician riffs off a casual theme. The resulting models are very crude, casual and many. A chosen few undergo editing, refinement and transformation as they are built into full size sculptures.”

In December 2017, NEAR and Partners in Housing collaborated to create this temporary mural at the corner of 10th and Rural. Their goal was to enliven the streetscape, express the diversity and “vibe” of the area, call attention to rentable retail spaces, and increase the perception of safety in this important neighborhood hub. They engaged the artist William Denton Ray, known for his whimsical drawings, to create a multi-part composition that fills the storefront windows of a historic commercial block. The mural is anticipated to remain in place for approximately two years.
The title of the mural is a call for people to talk with each other to improve understanding and connection.
Partners in Housing is a leading agency in the fight against homelessness and for access to more affordable housing. Since 1993, Partners has rescued and rehabbed properties that have provided a total of 248 supportive housing units and 335 affordable housing units. These units serve more than 600 people every day, making Partners In Housing by far the largest and oldest developer of this kind of housing in Indianapolis.
Near East Area Renewal (NEAR) is the community development agency for Indianapolis’ Near Eastside, working to develop housing options for all income levels, assisting in rehabilitation efforts, urban homesteading, and essential repairs with low-income homeowners, energizing industrial site cleanup and re-use, and putting the Near Eastside Quality of Life Plan into action.

Barrow consists of a molded fiberglass hemisphere with two entry ways. These entry ways are identical rectangular shapes with rounded edges. They are located directly opposite one another, with one located at the sculpture’s proper front and the other at its proper back. The fiberglass is molded so that it forms a double wall around an encased sheet of metal meshing. The wall of the fiberglass that is seen from within the sculpture has been allowed to develop darkly, while the outside is light and shiny. The double wall of fiberglass occupies mass, but also contains space. This alters the viewers a changing perception of light and color.
From the outside, the fiberglass has been molded so that the thin vertical ridges begin at the bottom of one side, ascend framing the entry ways, and descend down the other side. These strips continue over the dome, and frame the entry way on the opposite side. The metal meshing gives the fiberglass an interesting visual effect of texture, within being able to feel it.
The sculpture sits on a square concrete base at a 45 degree angle. Once inside the sculpture, there is a rubber mat on the base to allow viewers to move within the space safely. Upon entering the sculpture, one is inclined to look up at its ceiling. There is a bullseye shaped pattern consisting of a thin red outline, surrounding a large blue circle. Within the blue circle is a smaller red outline surrounding a much smaller yellow circle.
Barrow was commissioned for IUPUI in 2007. The sculpture was installed at the Herron School of Art on Wednesday, May 7, at noon. Barrow will remain on display for two years. Barrow was inspired by Viney’s visits to caves and burial mounds in Ireland and France. The word barrow means a prehistoric burial mound used by Celtic people of France, England, Scotland, and Ireland. Viney’s inspiration for the ceiling of Barrow came from her experience in an actual barrow in Ireland. While inside the mound’s central rounded space, a beam of light came streaming in through a slot in the ceiling. These slots were used to chart the solstices, and the paths of the sun and moon. The space also had empty niches in the walls, resembling the entry ways in Barrow.
While visiting the Peche Merle Cave in France along the Dordogne River, Viney discovered a cave with paintings and images lining the walls. The artists had crushed red oxide rock into a powder, and then blown it around their hands, leaving a negative imprint on the wall. The thumb and forefinger were touching, leaving behind a repeated circle pattern along the walls of the cave. This is red pattern is the influence for the red in Viney’s patterned ceiling of Barrow.
Jill Viney was born in a coastal town in California. She earned her Bachelor’s degree at Sarah Lawrence College, and her Masters of Fine Arts at Columbia University. Viney has used a quotation from Albert Einstein in her artist statement: "Look, look deep into nature and you will understand everything better." She is very interested in how advancements in technology allow us to see deeper into spaces that would otherwise be unseen. She alters the viewer’s perceptions of light, space, and color.

Artist Brian Priest’s interest in the areas of natural phenomena and interdisciplinary science have resulted in varied artworks comprised of sound, sculpture, performance and drawing. Often, the artist’s own body is both site and source of his work.
His prior piece Body Zoo resulted from the artist collecting samples of microscopic bacteria from different areas on his body to create a “micro zoo”. Images from Body Zoo were incorporated into Between Two Mirrors. Pictures of bacteria and mold were converted into texture maps to create an image which is both grotesque, compelling, and oddly beautiful. The image is a cluster of unlikely combinations of familiar elements, which exists somewhere between a clinical study, horror movie and architectural model.
Priest shows the human body as a structure that both navigates and contains landscape. Just as billions of humans inhabit the Earth, billions of small creatures thrive on and within us. It is life at different scales.

This graffiti piece, a portrait of the celebrity Björk, is part of a body of work that makes up one of the few sanctioned graffiti areas left in Indianapolis, IN. The alleyway just east of Virginia Avenue in Fountain Square stands as a testament to the talent of the young, aspiring graffiti community as well as the more well-known graffiti writers in the area. Constantly changing, this living alleyway represents the very nature of the art form and the state of graffiti in Indianapolis.
Björk (born November 21, 1965) is an Icelandic singer, songwriter, producer, DJ, and actress. Over her four-decade career, she has developed an eclectic musical style that draws on a wide range of influences and genres spanning electronic, pop, experimental, classical, trip hop, IDM, and avant-garde styles. Björk’s music has been the subject of much analysis and scrutiny. Critics often agree that she constantly defies categorization in a musical genre.

This bronze cast of a 1965 statue by Rhoda Sherbell was made in 2000. It once stood on the IUPUI campus near the National Art Museum of Sport, but has since been moved to their new location within the Children’s Museum.
The sculpture honors Charles Dillon “Casey” Stengel (1890-1975), the baseball player and manager associated with various pro teams, most famously, the New York Yankees and the New York Mets. His outsize personality often overshadowed the sporting accomplishments of his teams. The inscription on the statue’s plinth reads “DEDICATED TO THE FOUNDER OF THE NATIONAL ART MUSEUM OF SPORT. GERMAIN G GLIDDEN. 1913-1999.”
The National Art Museum of Sport is housed within the Sports Legends Experience at the Children’s Museum. It is no longer free, but may be viewed with general admission to the Museum. NAMOS was founded in 1959 in New York City by Germain G. Glidden (GGG), a portrait artist and champion squash player with a strong belief in sport and art as universal languages understood and appreciated by all people. Its mission is to encourage sport artists in their efforts to create sport art, and to collect, preserve and share the best examples of sport art it can acquire. The museum occasionally assembles exhibitions from its 1000-piece collection and circulates them to other venues for display. For more information, visit http://nationalartmuseumofsport.org/

Each year since 1947, a 1,200-pound bronze cherub mysteriously appears atop the Ayres Clock the day before Thanksgiving until Christmas Eve.
The angel theme arose from commercial artist Virginia Holmes, who drew cherubs in the empty spaces of the L.S. Ayres holiday catalog. The department store then commissioned Indianapolis sculptor and Herron Art School instructor David Rubins to create the statue, which has greeted holiday shoppers every year except 1992, when L.S. Ayres was sold. Public outcry was so great that the Cherub soon returned.
There is currently a movement to install the Cherub permanently.

Installed as part of a larger project with Transit Drives Indy and the Arts Council of Indianapolis, Coming Soon…Seriously comments in a humorous way on the long process to bring the Red Line Rapid Transit to Indianapolis. The artist was inspired by signs in the environment to create a sign-like sculpture that works all through the life cycle of the Red Line: the pre-construction publicity, the construction period, the period after construction but before service, and the new service period, where buses will be arriving every 10-15 minutes. The artwork is temporary, and will be removed at the end of 2019 when Red Line service is established.
Jamie Pawlus is a conceptual artist based in Indianapolis. She lives in the Fountain Square neighborhood, just blocks from where the sculpture was installed.

Counterpoint is architectural in form and dynamic in visual movement. The main body of the sculpture is approximately 10 degrees from the vertical. This tall slender form is precariously balanced by the outstretched stone that hovers above and to the side of the tilting column. The overall composition is a delicate balance of light and dark forms working in unison, creating visual tension and a structural dance. The work is made of powder-coated steel and limestone that is carved in a manner that accentuates the movement of the piece. Gold leaf adorns the form balanced on the cantilevered arm.
In April 2018, the piece was installed on the Washington Street Bridge in the White River Park. The installation is temporary (approx 3 years).
Dale Enochs is a mixed-media sculptor based near Bloomington, Indiana. He has executed numerous temporary and permanent public works in Indiana.

Crescendo is the successful implementation of the Art Center’s first National Endowment for the Arts grant. A national call was issued to find an artist who could create a sculpture for ArtsPark during a one-week residency with an interactive community component. Kansas City, Missouri artist Beth nybeck was selected to make the sculpture. Nybeck and the Art Center collected over 6,000 tiles in which members of the community wrote answers to the question “What have you discovered?” These tiles were attached to an armature by the artist and are the main component of the finished piece. Completed October 19, 2012 and on display for 3-5 years.
Made possible by a National Endowment for the Arts Art Works grant and the Efroymson Family Fund, a CICF fund.
Quoted from http://indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf

Don Gummer: Back Home Again is presented by the Central Indiana Community Foundation in honor of the 100th anniversary of The Indianapolis Foundation and in partnership with the Indianapolis Cultural Trail, Inc. This outdoor exhibition is located on the Indianapolis Cultural Trail and it features eight sculptures by Indianapolis-native, New York-based artist Don Gummer.
The artist, Don Gummer, was born in Louisville, Kentucky in 1946. When he was seven years old Gummer and his family moved to Indianapolis, Indiana. As he grew up in Indianapolis he attended Ben Davis High School where he demonstrated his artistic talent by winning local awards. Gummer attended Herron School of Art in Indianapolis before moving to Boston, Massachusetts to attend School of the Museum of Fine Arts. From Boston, he went on to Yale University in New Haven, Connecticut, where he completed both his Bachelor of Fine Art and his Masters of Fine Arts.
Gummer prefers that each individual bring their own interpretation to Desert House and his other sculptures along the Cultural Trail. Don Gummer: Back Home Again runs from August 31, 2016 to August 7, 2017.

Artist Nathan Pierce created this bright red sculpture in 2014. Made of epoxy-coated steel, the sculpture represents an abstracted communications satellite and, as such, is about communication and connectivity. The artist states, “Please imagine this sculpture as the answer to connecting with those who are far away from us, both mentally and physically. Being able to understand one another helps us build a stronger scene of community and place.”
It was installed on April 15, 2019 as part of the ongoing White River State Park sculpture exhibition and will be on view until 2022. Several additional pieces of the artist’s work are on view at the IU-Kokomo campus and the Kokomo Sculpture Walk, until 2021.
A native of Cape Girardeau, Missouri, Pierce learned the value of craftsmanship and working with one’s hands from his father, a third-generation stonemason. His sculptures reflect not only his personal interest in architectural forms, but also a belief that communication plays a fundamental role in our perceptions of the world we live in. Pierce’s work often speaks of the tension between freedom and confinement, and he explores what he feels creates that tension: building or destroying communication.

The mural, which was painted over five wood panels, covered the windows of an unused storefront. Commissioned by the Arts Council and completed in 2006, Ebb and Flow consisted of primarily white, blue and green exterior house paints. The mural features the image of a cloud filled sky and green fields.
This mural was commissioned by the Arts Council of Indianapolis as part of their Picture Windows: Urban Interpretations program. The program allowed artists to create installations or paint murals in vacant or abandonded downtown storefronts. Most projects created for this program were temporary and no longer exist.
Quoted from http://en.wikipedia.org/wiki/Ebb_and_Flow_(mural)

Chicago-based artist Terrence Karpowicz originally created Finish for Art Prize in Grand Rapids, MI. Recently on exhibit at the Meijer Sculpture Garden and several locations in Chicago, Finish was inspired by the drive to achieve goals using every ounce of energy, wisdom, body and being. The piece is an especially appropriate complement to the many walks and runs that culminate in White River State Park.

The artist intends to welcome various interpretations of all viewers, bringing their experiences and understanding to the sculpture. Through his work, he studies absolutes and variables of form, creating sculptures that are predominately based on utilitarian, man-made items, rather than objects of nature. Gruizenga enjoys visiting his sculptures after a fresh snow to see footprints of viewers who’ve taken time to observe his work.“Each person goes on about their life with an experience, good or bad, based on their understanding of the sculpture.” Gruizenga’s a Western Michigan University graduate with a Master of Arts in Sculpture. After working as a psychiatric social worker for 19 years, he returned to his roots in sculpture and began working with aluminum. The artist finds it a humbling honor to communicate with people every day through his pieces.
Douglas M. Gruizenga—Interlochen, Michigan
http://www.inwhiteriver.com/attractioncategory/public-art/

This sculpture was included in the White River State Park’s triennial sculpture rotation. It is part of a series of sculptures by the artist inspired by the famous Forth Bridge, a feat of design and engineering spanning the Firth of Forth near Edinburgh, Scotland. The Forth Bridge is the second-longest single-cantilevered bridge in the world.
Born in Cincinnati, Ohio in 1953, artist Barry Hehemann received a BFA in sculpture from the Herron School of Art, Indiana University-Purdue University at Indianapolis in 1975. After receiving an MFA from the University of Illinois at Urbana-Champaign in 1977, Hehemann co-founded Vector Custom Fabricating in 1978. Vector is an architectural metals and sculpture fabricating company that serves the art and construction communities. Through the use of the facilities, contacts and expertise provided through work in the industry Hehemann continues to pursue his interest in sculpture on a small and large scale, exploring a variety of concepts and materials, including steel, stainless steel, stone, and concrete.

The transformation of five traffic signal control boxes or “invisible canvases” around the Northeast Corridor is intended to promote pride and unite the community in the area. These boxes are collectively called The Big Picture Project, a public art initiative that uses the gateways of the community to share the stories of the neighborhood.
This stoplight box is located near Fall Creek and College Avenue. Depicted on the box are images of signs that read “Colonial Baking Co.,” “Lambert Coal & Coke Company,” and “Booth Furniture Manufacturing Company.” These signs are paying tribute to the Grandview Addition, which was adjacent to the roundhouses for both the Monon and the Nickel Plate Railroads.
Quoted from http://us9.campaign-archive1.com/?u=fcf86f7c3f5754fd259da4f7c&id=d8dedccfe8&e=14c2ef4487

The transformation of five traffic signal control boxes or “invisible canvases” around the Northeast Corridor is intended to promote pride and unite the community in the area. These boxes are collectively called The Big Picture Project, a public art initiative that uses the gateways of the community to share the stories of the neighborhood.
Gold and Glory is on the corner of E. 38th St and Fall Creek Parkway. This traffic signal control box has been transformed to pay tribute to the Gold & Glory Sweepstakes, the national-level auto racing event for African-American drivers held at the Indiana State Fairgrounds. The box is adorned with a black and white checkered pattern, and in the center is an image of an African American race car driver who is surrounded by the names of Rodney Morris, Herb Pipes, and others who drove in the Gold and Glory Sweepstakes. Started by the Colored Speedway Association, this race proved the capabilities of African-American drivers and mechanics while making household names of Charlie Wiggins and Bobby Wallace of Indianapolis and “Wild Bill” Jeffries of Chicago.

This mural along the north-facing wall of the 67th Street floodwall was created by the students of a week-long Graffiti Mural Camp program at the Indianapolis Art Center in the summer of 2017. The Camp was presented in partnership with the Indy Urban Artist Network. The theme of the mural is love, peace and understanding, and the design includes examples of several “street art” styles and painting techniques. Each section was created by a different student, and teaching artists Matt Lawrence and James Quebbeman contributed to the mural to bring unity to the piece and paint the lettering.
The Urban Artist Network was founded in 1999 to address the unique needs of emerging urban artists and arts organizations. Its vision and purpose is to close the gap between urban artists and their communities by offering the tools for artists and communities to reach their goals together. UAN offers various public presentations on the topic of using aerosol art as a commitment to community beautification, and provides insight into the culture of graffiti art.

This mural was painted by the Indianapolis Art Center’s Graffiti Mural Camp, and executed June 11-15, 2018. The camp was led by professional mural artists Matt Lawrence and James Quebbeman. The twelve students, ages 14-16, worked collaboratively on the mural. It includes lighthearted imagery and encouraging messages, as well as a message of peace and solidarity in response to the Noblesville school shooting in late May 2018.
Students involved include: Halle Cole, Mary Cowdin, Kaya Edwards, Justin Gershman, Helen Hauser, Ana Kurek, Samantha Landreth, Cooper Rigney, Eve Swanson, Julia Sweet, Lillian Watness, and Kenley Williams.
Matt Lawrence is a member of Bridge Collective, a group of graffiti writers, musicians, muralists, poets, and street artists who work together and separately on projects of interest.
James Quebbeman is a member of the Urban Artist Network, whose mission is to make the arts accessible to people of all economic and educational backgrounds while promoting emerging urban artists.

The artwork wrapped around this traffic signal control box speaks to a positive impression of the nature of community. Created from an original watercolor painting, the box indicates the satisfaction of being with others, the whimsy of following one’s dreams, and the vision of children in making a community joyful.
The artist also included imagery specific to the neighborhood, as follows:
The books tie into the “little free library” also found at the site. Books are a source of knowledge, enlightenment and inspiration.
The vents are disguised as the multi-level housing that has been built along 10th Street. The smaller house represents the historic housing that is along East 10th St.
The lamppost represents Woodruff Place.
The flower represents the entry/gateway gardens in nearby Windsor Place and Cottage Home.
Butterflies represent the transformation of the Near Eastside into a vibrant, cohesive community
The happy and singing dog represents the work of people in the neighborhoods and FACE to improve awareness about the treatment and well-being of our pets.
The eyes on trees, flowers and homes represents the different neighborhood watch programs.
The artist, Jo Hewitt, is local to the Near Eastside community in which the box is found. The project was sponsored by the East 10th Street Civic Association.

According to the artist, Harmony is a symbol for finding a balanced place for ourselves within our world. The cubic forms represent the Cities of Man – they are fused together because we depend on each other…for everything. It is supported by the benevolent forces of Nature. The lower portion is symbolic of soil, water, and mineral resources of our planet – where everything has its beginning and end.
Don Lawler is a stone sculptor based near Stephensport, Kentucky. He exhibits locally, nationally, and internationally.

The transformation of five traffic signal control boxes or “invisible canvases” around the Northeast Corridor is intended to promote pride and unite the community in the area. These boxes are collectively called The Big Picture Project, a public art initiative that uses the gateways of the community to share the stories of the neighborhood.
In 1821, Hiram Bacon settled in Indianapolis and as time went on the barn that was on his property served as a station in the Underground Railroad. Depicted on this traffic signal control box is an escaped slave, whose shout for freedom breaks the chains around him. The orange pattern that covers the central image is known as the “monkey wrench”; this pattern was used as a code to identify a safe house.
Quoted from http://us9.campaign-archive1.com/?u=fcf86f7c3f5754fd259da4f7c&id=d8dedccfe8&e=14c2ef4487

This artwork was originally a temporary piece, placed as part of a sculpture exhibition that was seen on the length of Mass Ave. At the end of the exhibition, the artist gave it to Dean Johnson Design, the business located immediately behind it. Since then, Dean Johnson has been renamed Axiomport and moved away from the Mass Ave Cultural District; the artwork, however, has remained. It is still considered a temporary installation.
The forms of Honor Guard aptly recall a soldier standing at attention.
The artist, Steve Wooldridge, was born in Sheridan, Indiana, where he continues to live. He attended the Dayton Art Institute, where he studied three-dimensional design and sculpture. He graduated from the Herron School of Art in 1963 with a degree in sculpture. Wooldridge is known for his site specific sculpture for indoors and outdoors as well as artisan furniture, and his extensive skill in blacksmithing.

Horizons is an installation that encompasses 12 life-sized, cast-iron androgynous figures, each embedded with horizontal lines of glass. The rough surface of these sculptures echoes the texture of the tree trunks, while bands of transparent glass allow the daylight to show through their lean bodies. The use of iron, which ages and weathers to develop a patina over time, connects the work to its natural environment. Since its creation, the group has previously been installed in such contexts as fields, forests, galleries, and gardens. The distance and relationship of the figures to each other and to the viewer change with each new installation.
According to the artist, the glass lines are meant to evoke the endless horizon she sees at her oceanside studio, the line where sky meets sea. “Glass as a material has a lot of different connotations. It can be fragile, yet dangerous. It can be translucent, or solid . . . It’s like water, but also like air.”
The exhibit was showcased in the documentary Horizons: The Art of Steinunn Thórarinsdóttir directed by Frank Cantor and featuring music by Björk. The film, exploring the human condition through Steinunn’s work, was awarded a Cine Golden Eagle, Special Jury and Masters Award from the International Cine Festival in Washington, D.C. in 2009.
Steinunn Thórarinsdóttir (pronounced Stay-nun Thorens-daughter) is an Icelandic artist who has used the human form as her main means of expression throughout her career. She works with reliefs and free standing sculpture in various materials such as cast iron, aluminum, plaster, glass and concrete. Thórarinsdóttir has done numerous commissions both for specific indoor spaces as well as outdoor works and monuments. She has been working professionally for over 30 years and has exhibited widely in Europe, Japan, USA and Australia. Her works are in private, public and corporate collections worldwide. She currently lives and works in Reykjavik, Iceland. Read more about her work at http://www.steinunnth.com/

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Disclaimer: The Arts Council of Indianapolis provides this database and website as a service to artists, arts organizations, and consumers alike. All information contained within the database and website was provided by the artists or arts organizations. No adjudication or selection process was used to develop this site or the artists and organizations featured. While the Arts Council of Indianapolis makes every effort to present accurate and reliable information on this site, it does not endorse, approve, or certify such information, nor does it guarantee the accuracy, completeness, efficacy, timeliness, or correct sequencing of such information.